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DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
DSLR Photography - Week 18 - Composition 1
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DSLR Photography - Week 18 - Composition 1

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This is Part 1 of our coverage of Composition in Photography. From class lecture given Mar 7, 2011.

This is Part 1 of our coverage of Composition in Photography. From class lecture given Mar 7, 2011.

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  • • Succession of Points\n• Lead the viewers into and around the scene\n• Signposts LEADING the viewers eyes\n\n• Evoke a PSYCHOLOGICAL RESPONSE depending on their ORIENTATION and DIRECTIONS\n• Used to achieve a certain MOOD or FEELING\n
  • • Succession of Points\n• Lead the viewers into and around the scene\n• Signposts LEADING the viewers eyes\n\n• Evoke a PSYCHOLOGICAL RESPONSE depending on their ORIENTATION and DIRECTIONS\n• Used to achieve a certain MOOD or FEELING\n
  • VERTICAL LINES\n> tall, balanced\n> solid, firm\n> Symbolize STRENGTH, POWER, and STABILITY\n\n> PARALLEL LINES\n- sense of order, pattern leads the eye\n
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  • HORIZONTAL LINES\n> Peaceful and Static,\n> Suggests STABILITY, PERMANENCE, and TRANQUILITY\n
  • The PLACEMENT of the HORIZON LINE itself also affects the viewer’s response.\n> When LOW in the frame, the emphasis is on the upper portion, yielding a more EXPANSIVE look.\n> When HIGH in the frame, what is below it takes on more meaning.\n
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  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
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  • Lynda.com Video on Composition by\n\nWhen you look at this … what do you think of? What’s the message.\nShowing movement, timelessness.\n
  • Lynda.com Video on Composition by\n\nA photo of just birds? Freedom … motion … blurriness of winds enhances the movement. Open space surrounded by blue suggests freedom.\n
  • Lynda.com Video on Composition by\n\nComposed as to suggest erie, spooky feeling. NOT the fence and tombstones. Also … use of B&W enhances this feeling.\n
  • A picture of a child … but isn’t it MUCH MORE than that? \nAn image of PURE JOY and UTTER HAPPINESS … THAT is the intention of this image. This is the moment that I want to SHOW OFF.\n
  • Lynda.com Video on Composition by\n\nKNOW WHY YOU ARE TAKING THE PHOTO ...\n[The Mission Valley, Montana]\n … not a great photo … it’s UNCLEAR what the maker intends to convey. Clouds? Mountains? Roadways? … equal part of each. \nNo clear message.\n
  • Lynda.com Video on Composition by\n\nTHIS IS MUCH MORE INTERESTING!\nSky is interesting, sky flatters the landscape, sun is bathing the foreground. \nClouds and road lead you to the the bright spot in mountain.\nS-Curve adds elegance to the shot.\n
  • Lynda.com Video on Composition by\n\nThe whole scene is nice. \nMaker was interested in the barn and mountains …. but you wouldn’t know that …\nfailed attempt … just an average snapshot, a documentation of the scene\nBarn is far away, centered … light not flattering\n
  • Lynda.com Video on Composition by\n\nMUCH BETTER … more indicative of what the maker wanted to convey… \nENHANCED by composition, lighting\n
  • Lynda.com Video on Composition by\n\nMaker was intrigued by the sunlit cloud but felt the foreground was part of the “rules”\n
  • Lynda.com Video on Composition by\n\nWith an element in the foreground that COMPLEMENTED the shape of the cloud.\n
  • Lynda.com Video on Composition by\n\nThe pattern of the fern caught the maker’s eye … interesting pattern, but no clear understanding of WHERE he finds himself….\n
  • Lynda.com Video on Composition by\n\nA much more interesting composition just by moving ...\n
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  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
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  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
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  • SOLIDS\n\n> Planes grouped together form a SOLID\n\n> Sometimes referred to as a SHAPE\n> THREE-DIMENSIONAL in nature\n\nEXAMPLES: Ball, Banana, Box\n\n> Can EXTEND beyond the picture\n> If solid contains BOUNDARIES, the result is a solid with a recognizable FORM/SHAPE such as a SPHERE, CUBE, PRISM, etc.\n\n> Solids provide VISIBLE CUES about SIZE, SCALE and MASS of the subject through the interplay of LIGHT and SHADOWS\n> The TEXTURE of a solid’s surface yields information about the MATERIALS that make up the solid.\n\n
  • SOLIDS\n\n> Planes grouped together form a SOLID\n\n> Sometimes referred to as a SHAPE\n> THREE-DIMENSIONAL in nature\n\nEXAMPLES: Ball, Banana, Box\n\n> Can EXTEND beyond the picture\n> If solid contains BOUNDARIES, the result is a solid with a recognizable FORM/SHAPE such as a SPHERE, CUBE, PRISM, etc.\n\n> Solids provide VISIBLE CUES about SIZE, SCALE and MASS of the subject through the interplay of LIGHT and SHADOWS\n> The TEXTURE of a solid’s surface yields information about the MATERIALS that make up the solid.\n\n
  • SOLIDS\n\n> Planes grouped together form a SOLID\n\n> Sometimes referred to as a SHAPE\n> THREE-DIMENSIONAL in nature\n\nEXAMPLES: Ball, Banana, Box\n\n> Can EXTEND beyond the picture\n> If solid contains BOUNDARIES, the result is a solid with a recognizable FORM/SHAPE such as a SPHERE, CUBE, PRISM, etc.\n\n> Solids provide VISIBLE CUES about SIZE, SCALE and MASS of the subject through the interplay of LIGHT and SHADOWS\n> The TEXTURE of a solid’s surface yields information about the MATERIALS that make up the solid.\n\n
  • SOLIDS --- How Humans Perceive Solids\n\n> For purposes of survival, humans have evolved to quickly recognize solids\n> We also recognize solids from CULTURAL CONDITIONING and from our MEMORY\n\n> We are so good at this, we frequently do not have to see the entire solid to recognize what it is!\n\n> Show enough of the solid for viewer’s brain to CONNECT THE DOTS\n
  • SOLIDS --- How Humans Perceive Solids\n\n> For purposes of survival, humans have evolved to quickly recognize solids\n> We also recognize solids from CULTURAL CONDITIONING and from our MEMORY\n\n> We are so good at this, we frequently do not have to see the entire solid to recognize what it is!\n\n> Show enough of the solid for viewer’s brain to CONNECT THE DOTS\n
  • SOLIDS --- How Humans Perceive Solids\n\n> For purposes of survival, humans have evolved to quickly recognize solids\n> We also recognize solids from CULTURAL CONDITIONING and from our MEMORY\n\n> We are so good at this, we frequently do not have to see the entire solid to recognize what it is!\n\n> Show enough of the solid for viewer’s brain to CONNECT THE DOTS\n
  • SOLIDS --- Environment can affect our recognition\n> Our eyes constantly scan for differences in texture, color and light\n\nYOUR COMPOSITIONS WILL BENEFIT IT YOU TAKE CARE TO ENSURE THE SHAPES YOU PHOTOGRAPH ARE SEPARATED FROM THE BACKGROUND EITHER BY COLOR OR BY TEXTURE. THIS HELPS YOUR VIEWER PINPOINT THE PHOTOGRAPH’S MESSAGE MORE QUICKLY.\n
  • SHAPES are seen in TWO DIMENSIONS\n
  • SHAPES are seen in TWO DIMENSIONS\n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
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  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • Jerome, AZ\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
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  • Transcript

    • 1. DIGITAL SLR PHOTOGRAPHY COMPOSITION Part 1 Sandro V Cuccia
    • 2. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid … © Sandro V Cuccia - www.Imagemedic.com
    • 3. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    • 4. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    • 5. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    • 6. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    • 7. Week 18Composition© Sandro V Cuccia - www.Imagemedic.com
    • 8. Auto Focus (AF)
    • 9. Photo Credits
    • 10. Photo Credits• iStockPhoto.com• Stock Exchange (www.sxc.hu)• Sandro V Cuccia
    • 11. The Elements of Design
    • 12. The Elements of Design What Makes a Successful Image?
    • 13. Single THEME or IDEA
    • 14. SinglePoint–of–Interest
    • 15. SinglePoint–of–Interest
    • 16. Simplify
    • 17. No Clutter
    • 18. Seek Order Peterson p.49
    • 19. Seek Order Peterson p.49 Points Lines Planes Solids The Elements of Design! ShapesOrientationFocal Point Texture Pattern Color
    • 20. Seek Order Peterson p.49
    • 21. The Elements of Design
    • 22. The Elements of Design POINTS
    • 23. The Elements of Design
    • 24. The Elements of Design POINTS
    • 25. The Elements of Design POINTS
    • 26. The Elements of Design POINTS
    • 27. The Elements of Design
    • 28. The Elements of Design LINES
    • 29. The Elements of Design
    • 30. The Elements of Design LINES
    • 31. The Elements of Design LINES
    • 32. The Elements of Design LINES
    • 33. The Elements of Design LINES
    • 34. The Elements of Design LINES
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    • 70. The Elements of Design LINES
    • 71. The Elements of Design LINES Ended Here Week 1 20090209
    • 72. Recap: Elements of DesignWhat is Composition?
    • 73. Recap: Elements of DesignWhat is Composition? “The artistic arrangement of the parts of a picture”
    • 74. Recap: Elements of DesignWhat is Composition? “The artistic arrangement of the parts of a picture” “A product of mixing or combining various elements or ingredients”
    • 75. Recap: Elements of Design What is Composition? “The artistic arrangement of the parts of a picture” “A product of mixing or combining various elements or ingredients”“The act of combining parts or elements to form a whole”
    • 76. Recap: Elements of Design What is Composition? “The artistic arrangement of the parts of a picture” “A product of mixing or combining various elements or ingredients”“The act of combining parts or elements to form a whole” “An arrangement of the parts of a work, so as to form a unified, harmonious whole”
    • 77. Recap: Elements of DesignWhat is Composition?
    • 78. Recap: Elements of DesignWhat is Composition? Subject, Secondary Subjects, … Arrange Them … Whole Idea, Thought or Feeling
    • 79. Recap: Elements of Design
    • 80. Recap: Elements of Design What Does the Image Make You Think or Feel?
    • 81. Recap: Elements of Design A Great Photograph …
    • 82. Recap: Elements of Design A Great Photograph …• Has a Central Theme or Idea
    • 83. Recap: Elements of Design A Great Photograph …• Has a Central Theme or Idea• Focuses Attention to a Single Point–of–Interest
    • 84. Recap: Elements of Design A Great Photograph …• Has a Central Theme or Idea• Focuses Attention to a Single Point–of–Interest• Simplifies
    • 85. Recap: Elements of Design• Elements of Design make up your composition• They bring order to your composition • Points • Lines [ “Leading Lines” ] • Vertical & Horizontal • Diagonal • Parallel and Zig–Zag
    • 86. The Elements of Design LINES
    • 87. The Elements of Design LINES
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    • 106. The Elements of Design LINES
    • 107. The Elements of Design LINES
    • 108. The Elements of Design LINES
    • 109. The Elements of Design LINES
    • 110. The Elements of Design LINES
    • 111. The Elements of Design
    • 112. The Elements of Design PLANES
    • 113. The Elements of Design
    • 114. The Elements of Design PLANES
    • 115. The Elements of Design PLANES
    • 116. The Elements of Design PLANES
    • 117. The Elements of Design PLANES Place ENDO board room picture here
    • 118. The Elements of Design PLANES
    • 119. The Elements of Design PLANES
    • 120. The Elements of Design
    • 121. The Elements of Design SOLIDS
    • 122. The Elements of Design
    • 123. The Elements of Design SOLIDS
    • 124. The Elements of Design SOLIDS
    • 125. The Elements of Design SOLIDS
    • 126. The Elements of Design SOLIDS
    • 127. The Elements of Design SOLIDS I’d still like that picture of a portion of a car
    • 128. The Elements of Design SOLIDS
    • 129. The Elements of Design SOLIDS
    • 130. The Elements of Design
    • 131. The Elements of Design SOLIDS : SHAPES & SILHOUETTES
    • 132. The Elements of Design
    • 133. The Elements of Design SOLIDS
    • 134. The Elements of Design SOLIDS
    • 135. The Elements of Design SOLIDS
    • 136. The Elements of Design SOLIDS
    • 137. The Elements of Design SOLIDS
    • 138. The Elements of Design SOLIDS
    • 139. The Elements of Design SOLIDS
    • 140. The Elements of Design SOLIDS
    • 141. The Elements of Design SOLIDS
    • 142. The Elements of Design SOLIDS
    • 143. The Elements of Design SOLIDS
    • 144. The Elements of Design SOLIDS
    • 145. The Elements of Design SOLIDS
    • 146. The Elements of Design SOLIDS
    • 147. The Elements of Design SOLIDS
    • 148. The Elements of Design
    • 149. The Elements of Design SOLIDS : FORM
    • 150. The Elements of Design
    • 151. The Elements of Design FORM
    • 152. The Elements of Design FORM
    • 153. The Elements of Design FORM
    • 154. The Elements of Design FORM
    • 155. The Elements of Design FORM
    • 156. The Elements of Design FORM
    • 157. The Elements of Design FORM
    • 158. The Elements of Design FORM
    • 159. The Elements of Design FORM
    • 160. The Elements of Design
    • 161. The Elements of Design SOLIDS : TEXTURE
    • 162. The Elements of Design
    • 163. The Elements of Design TEXTURE
    • 164. The Elements of Design TEXTURE
    • 165. The Elements of Design TEXTURE
    • 166. The Elements of Design TEXTURE
    • 167. The Elements of Design TEXTURE
    • 168. The Elements of Design TEXTURE
    • 169. The Elements of Design TEXTURE
    • 170. The Elements of Design TEXTURE
    • 171. The Elements of Design TEXTURE
    • 172. The Elements of Design TEXTURE
    • 173. The Elements of Design TEXTURE
    • 174. The Elements of Design TEXTURE
    • 175. The Elements of Design TEXTURE
    • 176. The Elements of Design TEXTURE
    • 177. The Elements of Design TEXTURE
    • 178. The Elements of Design TEXTURE
    • 179. The Elements of Design TEXTURE
    • 180. The Elements of Design
    • 181. The Elements of Design PATTERN
    • 182. The Elements of Design
    • 183. The Elements of Design PATTERN
    • 184. The Elements of Design PATTERN
    • 185. The Elements of Design PATTERN
    • 186. The Elements of Design PATTERN
    • 187. The Elements of Design PATTERN
    • 188. The Elements of Design PATTERN
    • 189. The Elements of Design PATTERN
    • 190. The Elements of Design PATTERN
    • 191. The Elements of Design PATTERN
    • 192. The Elements of Design PATTERN
    • 193. The Elements of Design PATTERN
    • 194. The Elements of Design PATTERN
    • 195. The Elements of Design PATTERN
    • 196. The Elements of Design PATTERN
    • 197. The Elements of Design PATTERN
    • 198. The Elements of Design PATTERN
    • 199. The Elements of Design PATTERN
    • 200. The Elements of Design PATTERN
    • 201. The Elements of Design PATTERN
    • 202. The Elements of Design PATTERN
    • 203. The Elements of Design PATTERN
    • 204. The Elements of Design PATTERN
    • 205. The Elements of Design PATTERN
    • 206. The Elements of Design PATTERN
    • 207. The Elements of Design PATTERN
    • 208. The Elements of Design PATTERN
    • 209. The Elements of Design PATTERN
    • 210. The Elements of Design PATTERN
    • 211. The Elements of Design PATTERN
    • 212. The Elements of Design PATTERN
    • 213. The Elements of Design PATTERN
    • 214. Sandro Cucciasandro@ImageMedic.com www.ImageMedic.com

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